Palgrave Macmillan a Guide for Authors Contents

2013

PUBLISHING WITH PALGRAVE MACMILLAN A GUIDE FOR AUTHORS CONTENTS

An Introduction to Publishing 3 Part One. Welcome to Palgrave Macmillan 4 About Palgrave Macmillan 4 Your Palgrave Macmillan Contacts 4 Part Two. Completing and Submitting Your Final Manuscript 6 Completing the Manuscript 6 Submitting Your Work 10 Checklist 12 Part Three. From Final Manuscript to Bound Book 13 Final Manuscript 13 The Production Process 13 Appendix 1. Using and Dealing with Copyrighted Material 17 Appendix 2. Illustrations 22 Appendix 3. Preliminary Pages 24 Appendix 4. Special Characters 25 Appendix 5. Poetry 26

2 AN INTRODUCTION TO PUBLISHING

This booklet offers an introduction to Palgrave Macmillan and the process of both submitting a manuscript for production and the production process itself. Please read through the whole booklet as soon as possible and use it as a reference guide throughout the process. We believe that doing so will lead to a better final product, with fewer misunderstandings and wasted efforts along the way.

Part One is a general introduction to Palgrave Macmillan and the departments that will be involved in producing and marketing your book.

Part Two provides information you will need to prepare and submit your final manuscript. Please read this section before completing your manuscript.

Part Three explains the production process after your manuscript has been delivered, provides lists to consult before you deliver your manuscript, and includes appendices that provide more details about permissions, images, tables, prelims, poetry, special characters, and edited volumes.

Thank you for publishing with Palgrave Macmillan. We wish you every success with your book.

3 Part One: Welcome to Palgrave Macmillan

About Palgrave Macmillan Palgrave Macmillan is a global academic publisher serving learning and scholarship in the field of higher education and publishing for the scholarly and serious nonfiction markets. It has an established and distinguished track record of international academic publishing as well as a respected association with St. Martin’s Press.

Palgrave Macmillan has a substantial and renowned list of books at all levels, including scholarly monographs, reference books, and textbooks, with leading lists in the humanities and social sciences. Palgrave Macmillan also publishes a diverse range of serious nonfiction titles for the general reader.

In addition, Palgrave Macmillan is the sole US distributor for I. B. Tauris, Manchester University Press, Pluto Press, BFI, and Zed Books.

Your Palgrave Macmillan Contacts There are three departments involved with your book; their roles are summarized below. Your main points of contact with Palgrave Macmillan will be your Acquisitions Editor and your Production Editor, but you may well deal with other members of our staff at various stages in the production and publication cycle.

4 Editorial In the time between signing your contract and delivering your final manuscript you should stay in touch with your Acquisitions Editor and your Editorial Assistant. It is particularly important that you let them know if your plans for the book change or if you foresee problems in fulfilling any of the terms of your contract. Your Acquisitions Editor will answer questions regarding permissions issues, illustrations, cover or jacket design, and endorsements for your book. Your Acquisitions Editor will also be happy to help with any problems that may arise as you work on the manuscript.

On or before your contractual due date, send in your final manuscript. Having checked, approved, and accepted your manuscript (after a final review by advisers or a Series Editor if necessary), your Acquisitions Editor will pass it on to the Production Department and the Marketing Department.

Production Your Production Editor is responsible for overseeing the copyediting, typesetting, proofreading, and printing of your book. Your Production Editor is also responsible for implementing the jacket or cover design that you have discussed with your Acquisitions Editor. (More information on these processes is contained in Parts Two and Three of this guide.)

The Production, Publicity and Marketing Form is a key tool for your Production Editor. The material listed there is used to ensure a careful and speedy production cycle.

Sales, Marketing, and Publicity Any marketing, sales, or publicity queries should first be addressed to your Acquisitions Editor. Your Editor will discuss the book with the sales and marketing team, and an appropriate plan will be created to sell and promote your book both domestically and internationally. More information regarding the marketing and publicity of your book will come under separate cover.

5 Part Two: Completing and Submitting Your Final Manuscript

This section covers what you will need to know to ensure that your manuscript reaches us in the most appropriate form, so that we can produce your book as quickly and efficiently as possible. Please read it through in full and then refer to it as often as necessary as you progress with your book.

Completing the Manuscript 1. Word Count Your contract specifies a word count for your manuscript (which is intended to include notes and bibliography). If you fear that you are going significantly over or under, contact your Editor immediately.

2. Collaborations If the manuscript is the work of two or more authors or editors, each should examine the manuscript before its final submission and after its final editing. But, in order to ease communication, one collaborator should be designated as the contact with Palgrave Macmillan for each step of the process. Please let us know who will be doing what.

3. Permissions (See Appendix 1: Using and Dealing with Copyrighted Material) We require “nonexclusive world rights in all languages for all media and all editions of your work, including advertising, publicity, and promotional materials for the book.” If anything in your manuscript requires permission to reprint, you must obtain those rights. Start that process as soon as you can—it is Palgrave policy not to accept manuscripts for which permissions are outstanding into production. If you have questions about what may or may not require permission, please speak to your Editor. Unresolved permissions issues are the most frequent cause of delays in the production process.

4. Style We do not impose a rigid house style, but we would like to suggest some basic conventions that we prefer. Our default style guide is The Chicago Manual of Style, 16th Edition. Please refer to this guide if you have any questions concerning grammatical or stylistic points. If you wish to use a different style guide, please discuss this with your Acquisitions Editor before going ahead (and, if agreed, please remind us of this agreement when you send in the final manuscript). Note, however, that we always insist on American style and punctuation. For spelling, we follow Merriam-Webster’s Dictionary, 11th Edition.

6 We suggest that before finalizing chapters you create a list of your stylistic decisions (for edited collections, send this list to your contributors as soon as possible, so that they can follow your guidelines when writing their chapters). If you prepare such a list, definitely include it when you send us your final manuscript. Your list should most likely address the following:

Use American spelling consistently (for example, characterized, not characterised) except for quoted material.

Spelling foreign words. In works dealing with foreign countries or foreign languages, especially those with alphabets different from English, it is wise to decide on the spelling or transliteration style of names and words at the outset and to include your preferences in your list of stylistic decisions. If you wish to use special characters/dia critics, talk to your Editor (and see Appendix 4). You may need to provide a PDF page of the special characters to ensure the proper display. Adding special characters after the book has gone into production is costly and difficult.

Italicize foreign words and phrases, with the translation in roman in parentheses—for example, barranca (steep bank)—unless they are proper nouns or words that are familiar in the American lexicon—for example, Moscow (Moskva), perestroika, or de facto. It is up to you to verify that the spelling of foreign words is correct.

Centuries should be written out in full: eighteenth century (not 18th century or XVIIIth century).

Decades may be written out or written as numerals: the seventies or the 1970s (without an apostrophe between the number and “s”), but be consistent with the style that you choose.

Numbers. Please decide ahead of time whether you will spell out only one through ten or whether you will spell out all numbers to one hundred (numbers 101+ should always appear in numeral form, except for large round numbers, such as six million).

Percent should be spelled out in full in the text; use numerals in conjunction with the spelled-out form (e.g., 50 percent). In tables or figures the % symbol should be used.

Acronyms consisting of capital initial letters should be spelled out in full on the first mention in each chapter and put in parenthesis, with the next mention as abbreviation only; for example, World Trade Organization (WTO).

Common abbreviations such as etc., i.e., and e.g. are fine when appearing in parentheses or in the notes, but in the text, please spell out as et cetera, that is, and for example.

Ellipses should consist of three spaced dots with a space on either side. Also, when

7 the last part of a quoted sentence is omitted and what remains is still a grammatically complete sentence, a period followed by three spaced ellipsis dots may be used (using only three ellipsis dots is also acceptable, but your style should be consistent).

Use double quotation marks for quotes, single marks for quotes within quotes, and double again for quotes within quotes within quotes.

End punctuation should fall within quotation marks in the case of commas and periods, and outside quotation marks in the case of colons and semicolons.

Displayed extracts (direct quotations set off from the main text) do not require quotation marks. When you wish to interpolate your own words within a quotation, place them in square brackets.

Direct quotations should appear as in the original and not be changed to conform to our house style. However, when doing your own translating, you should match book style.

Close up spaces between paragraphs unless the spaces are clearly purposeful; in which case, mark them as a special design element, for example, with three asterisks.

Number Tables and Figures according to chapter and figure/table number (e.g., Table 1.1 for Table 1 in Chapter 1, Figure 2.3 for Figure 3 in Chapter 2, and so on). In the text, please direct readers to “see Table 1.1” (or Figure 2.3) rather than giving page numbers or using general terms such as “above” or “below.”

Notes and bibliography. We strongly prefer one of the endnote style described in The Chicago Manual of Style (MLA style is also acceptable—but if you prefer and have employed MLA please let us know). If you wish to use a different style, please check with your Editor. (If your Editor agrees, please remind us of your agreed-to style when submitting the final manuscript, and we will ask the Copyeditor to follow your lead.) No matter what style is used, however, it is crucial that notes be numbered by chapter, that note style is consistent throughout the book, and that notes include all relevant information, including publisher, place and date of publication, article titles and authors, and page numbers. The notes need to be embedded using the reference function in Microsoft Word. We will not accept a mix of styles, with a different form in each chapter.

5. Format Please format the manuscript as simply as possible. Avoid producing a complex, fully designed manuscript—the typeset book will look quite different from the

8 version you send us. All we need to see in the manuscript are: where paragraphs begin and end,

what is italicized and what isn’t,

which quotes are to be set off from the text (extracted) and which are not, and

some differentiation between chapter titles and different levels of heads and subheads.

We will hire a professional Compositor (Typesetter) to design and typeset your book. Creating any formatting in addition to the bullets above wastes your time and the time of in-house staff (excess formatting created in word-processing programs is usually lost in conversion to typesetting programs).

Please also follow these general guidelines when preparing your manuscript for submission:

The entire manuscript, including the Notes and Bibliography, must be double-spaced, in the same font, and the same point size (preferably 12-point). All elements of the manuscript should be set up to print on the same paper size (Letter or A4) with at least 1” margins.

Number your manuscript pages in consecutive sequence throughout, beginning with the first page of the main or core text. Preliminary matter (the title page, the table of contents, preface, acknowledgments, etc.) should be numbered separately with lowercase roman numerals.

Go through your manuscript and look for any extra spaces between words, stray tabs, undesired line breaks, errant font notations, or anything else that may inadvertently seem to indicate an unwarranted request for special design treatment for the section in question.

Do not press “enter” (also called “using a hard return”) at the end of each line (unless you are quoting poetry or specifically require a line-for-line extract). Hard returns should be used only at the end of paragraphs. Do not put two hard returns between paragraphs unless you intend the extra space to show a break in the narrative or are offsetting an extract.

Extracts should be formatted with your program’s block indent function. Please do not indent by using extra spaces or tabs.

Use a tab to begin each paragraph (except at chapter openings or after headings). Do not use the space bar.

All notes should be entered as embedded endnotes, not as footnotes. (See discussion on notes and bibliography under “Style” in this section.) If you believe your book requires bottom-of-page footnotes, talk to your Acquisitions Editor.

9 Please ensure that the relative rank of heads and subheads is clear. We suggest using bold italics for first-level heads, bold for second-level subheads, and italics for third- level subheads (or some combination of the three possibilities). Please do not use all capital letters to designate any level of head or subhead.

Em-dashes—like those that set off this phrase—should be typed as two hyphens with no space on either side.

6. Edited Collections Editors should include a “Notes on Contributors” section in which each contributor is described in one to five sentences. Contributors can be listed here alphabetically. The descriptions should include each contributor’s affiliation and/or profession. Each contributor must approve and agree to this description.

We must also receive a signed contributor’s agreement for each essay—please see the form that will arrive under separate cover from your Editorial Assistant.

Editors: Please note that it is your responsibility to submit the manuscript of all chapters in an acceptable form—paginated, double-spaced, with consistent font and formatting. Please also note that we can receive only one version of the manuscript chapters, one version of the revised manuscript, and one set of corrected page proofs—Palgrave Macmillan staff members cannot collate multiple sets of manuscripts or proofs from editors, collaborators, or contributors.

Submitting Your Work

You Will Submit to Your Editor one complete, double-spaced, consecutively numbered manuscript divided by chapter (and no extra or alternate files) by email, CD/DVD, or USB drive;

any outstanding required forms (where applicable), including your completed Production, Publicity and Marketing Form (PPM), Permissions Tracker, signed permission forms, interview release forms, contributor agreements, Style Guide, cover image (if you’ve decided to provide your own), etc.;

images, tables, graphs, and other illustrations saved in separate files, preferably .jpeg or .tiff with location callouts in the text (Appendix 2);

abstracts for each of your chapters, saved separately, with each abstract no longer than

10 125 words. Abstracts should be concise summaries of each chapter, including keywords researchers would use in their searches.

Before You Send Your Final Manuscript ensure that the files are complete (no missing information or chapters still to come);

verify that you have formatted using the guidelines detailed in the format section above;

ensure that the chapter titles in the text and the table of contents match up exactly;

spell-check all chapter documents.

Organizing and Labeling the Electronic Files Although we currently use Microsoft Word, we can convert most programs designed for PCs or for Macs. Please check with your Editorial Assistant as soon as possible if you are using a program that might not be easily converted.

Save each text item separately. Text items include preliminary matter (title page, copyright page, dedication, table of contents, preface/acknowledgments, or foreword should all be in placed in one file [see Appendix 3, Prelims]), introduction, individual chapters, and bibliography/references. Every file must be saved in the same program. If you have converted any files, print out the manuscript after saving everything in the same program—that way you can confirm that nothing has been lost in the conversion (italics and special characters are the first to go).

Label each individual text item with a clear, descriptive name. For example: Chapter 1 = chap1.doc Introduction = intro.doc Second table of Chapter 4 = table4.2.doc

If submitting a CD/DVD or USB please label it legibly with your name and the title of your manuscript, the contents (if more than one storage device), and the name and version of your word-processing program.

11 CHECKLIST

ELEMENTS TO BE INCLUDED IN THE MANUSCRIPT: Title Page (must reflect final title, subtitle, order and appearance of author names as agreed and confirmed with your Editor; titles will not be changed after transmittal). Dedication page (if desired) Table of Contents Foreword (if applicable) Preface (if applicable) Acknowledgments (if desired) List of Tables/Figures (if needed) For edited collections only: List of Contributors (with short bios) Any other materials you would like included in the prelims Note: The applicable elements above should be combined into one document and named “Prelims.doc.”

All chapters, formatted correctly with callouts inserted for all images or tables (Appendix 2). Notes within chapters (embedded as endnotes) Bibliography Artwork, tables, graphics, illustrations Please note:

Wording and content of all quotations and extracts must be the same as the original source

Use of epigraphs is strongly discouraged. If you wish to discuss this further, contact your Acquisitions Editor. Chapter titles must be correct and match those listed in the Table of Contents Complete bibliographical information should be provided for each source, including the complete title and subtitle; the author’s full name; the city of publication, publisher, and year of publication; and the page number(s) used. A citation style should be used consistently throughout the manuscript.

12 Part Three: From Final Manuscript to Bound Book

Final Manuscript When you deliver your final manuscript to Palgrave Macmillan, a new stage of your work begins.

At the stage of final delivery, we expect that the manuscript is ready for production, all suggested revisions from the Acquisitions Editor, Series Editor (if applicable), and peer reviewer(s) will have been fully incorporated.

Next, your Editorial Assistant will ensure that you have included:

Your Permissions Tracker and all related permissions forms. (See Appendix 1) All signed contributor agreement forms if the book is an edited collection. Your Production, Publicity and Marketing Form. All artwork. Any suggestions for cover art. Electronic manuscript files that are formatted correctly and complete. Abstracts for every chapter, including introductions and conclusions.

The Editorial Assistant will also ensure that you have followed our guidelines on formatting and documentation. If all is in order, your Editorial Assistant will transmit your book to the Production Department.

The Production Process Usually within three weeks of your manuscript’s transfer to Production, you will be contacted by a Production Editor who will review the production needs of your book, devise a schedule, and send the book to a Copyeditor. During the production process, you will be asked to review the copyedited manuscript, answer post-copyediting queries, proofread page proofs, and prepare an index (if contractually obligated to do so). The following is an overview of the stages that your book will complete during the production process.

1. The Manuscript Once your Editorial Assistant has submitted your final manuscript to Production, a Production Editor will ready the manuscript for the Copyeditor, complete a schedule for the book, and begin work on the jacket design. After we have checked your manuscript your Production Editor will send you a “Welcome to Production” email that outlines how to use the track changes function in Microsoft Word. A few weeks later your Production Editor will send you a production

13 schedule that will outline the dates for the rest of the production process.

2. Jacket/Cover Design The design of your jacket will be coordinated by your Acquisitions Editor and a Designer, along with your Production Editor and our Marketing and Sales Department. You will be able to provide design input on your Production, Publicity and Marketing form. That will be your last chance to make color, image, or concept suggestions for the cover. If you have an image you would like us to consider incorporating please have it approved by the Acquisitions Editor in advance of the final delivery date. Please ensure that you will be able to secure permission and reproducible artwork in a timely fashion. Do not purchase art for the jacket or cover without your Acquisitions Editor’s approval; we may be unable to use it for permissions, marketing, branding, or other reasons.

3. Copyediting Once your manuscript comes into production, your Production Editor will send your book to a Copyeditor. The Copyeditor will read through the entire manuscript, editing for sense, style, consistency, and grammar. Please note that the Copyeditor is not asked to verify research, references, foreign words, facts, or translations; you should ensure that this information is entirely accurate.

Reviewing the Copyedit

When the copyediting is completed (usually in four to six weeks), it is briefly reviewed and then forwarded to you with a cover letter and a style sheet (a list of stylistic choices and the spellings of certain words and names used in your manuscript). It is essential that you scrutinize the style sheet before beginning work on the manuscript to verify that you agree with the Copyeditor’s decisions on those spelling and punctuation styles. If you disagree with one of the Copyeditor’s decisions, mark it on the style sheet and throughout the manuscript. This is the last stage at which you will be able to make significant changes to your manuscript. The clearer you are about what you do and what you want, the better the job we will do at the next stage. You will have three weeks to review the copyedited manuscript.

Reviewing Electronic Copyediting

The Copyeditor will use Word’s Track Changes feature to record changes while reviewing your files. Queries may be typed directly in the text or inserted as comments. To view comments and edits please ensure that you are in the “Print Layout” view in Word. Please be sure to first download and save the files to your computer. If you attempt to edit your files directly within the email, your changes will be lost.

Always ensure that Track Changes is switched “on” when you work in the file, never accept or

14 reject the Copyeditor’s changes, and do not delete comments: The Copyeditor needs to review your answers to each change and query. Answer queries by making the appropriate (tracked) change in the text or inserting your response (yes if you agree, no or “stet” if you disagree) next to the Copyeditor’s query. With all additions, please try to follow the rules laid out on the style sheet.

The files have not been formatted or typeset at this stage. Check only to make sure that all text that should be italicized appears italicized in the files.

Reviewing Hard-Copy Editing

We submit copyedited hard copies for review for special requests only. This hard copy edit is a printout of electronic copyedits showing all changes and comments. If possible we would prefer that you make all changes electronically. If you are reviewing the copyediting on a hard copy, please review all edits, marking “stet” or “no” by those changes with which you do not agree and a checkmark by those with which you do agree. Be sure to answer each query, either by making an appropriate change in the text or by responding in the margin; in the latter case, circle your response. Cross through the queries you answer to show that you have attended to them. Please use a pen or pencil in a different color than the Copyeditor’s corrections in track changes. Suggestions not marked as “stet” will be accepted by the Copyeditor once the copyedited manuscript is returned. Sometimes a Copyeditor’s query will ask you to rewrite a sentence or paragraph; when you do so, please write as clearly as you can. Please do not remove any flags or queries that the Copyeditor has attached to the manuscript. If you add a long paragraph or more at this stage, please flag this specially for us and, if possible, provide a separate word-processing file of “inserts.” With all additions, please try to follow the rules laid out on the style sheet.

Unless directed otherwise, when you have finished reviewing all changes, please return the complete copyedited manuscript and the marked-up style sheet to your Copyeditor.

Reviewing Copyedited Changes for Edited Collections

If the book is an edited collection, note that it is your responsibility to collate all of the changes and return to your Production Editor one complete, revised document. Your contributors should not send us their individual changes or concerns. Therefore, please take note of the production schedule; when giving your contributors a deadline to return their copyediting-vetted chapters to you, ensure that you allow yourself enough time to go over their work and incorporate it into your master file.

4. Post-copyediting Once we have your vetted copyedited manuscript, the Copyeditor will review it to ensure that everything is clear and that all issues have been addressed. We may, at this stage, have a few queries. If the number of queries is significant, we will contact you to get answers or missing

15 information before sending the book on to the Typesetter; if the queries are minor, we will simply ask you to address them at the page-proof stage. When everything has been addressed, the manuscript/files and disk are sent on to the Typesetter to create page proofs.

Page Proofs

When page proofs are complete (usually four to six weeks after you have returned the copyedited manuscript), our Typesetter will email you the proofs as PDFs for you to check and compile an index. You will be given three weeks to complete this stage. This is the last time you will see your work before it appears in book form.

The ultimate responsibility for correcting proofs rests with you. Please make only essential corrections (language or fact errors). Significant changes at this stage are costly, may disrupt the index, and may affect your release date. If you expect any delays at this point, or perceive any major problems with the proofs, please notify us immediately, as a delay of only a few days on your end can cost us weeks on ours.

There are several different ways to send page proof corrections: you may list corrections in the body of an email; you may mark up the proofs then scan and email (or fax) the corrected pages; or you may mark up the PDFs themselves. Hand written changes should be written concisely, but clearly enough for the Typesetter to understand. Unless directed otherwise, please return your corrected proofs to the Typesetter via email.

Indexing

At the same time that you are reviewing the page proofs, the index must be compiled. If you have not prepared an index before we will be happy to provide you with a booklet that describes the process and a list of freelance Indexers should you choose to hire a freelance Indexer. Because indexing can be quite time-consuming, it is a good idea to start compiling a list of key concepts and terms to be indexed prior to receiving the page proofs (but note that there is no foolproof or easy way to match manuscript pages to typeset pages). Note that we will not charge indexing costs against royalties. If you choose to use a freelancer, you will be responsible for payment directly to the Indexer as well as for supervision of their work. The index (electronic file only) will be due at the same time as corrected page proofs.

Once the Typesetter receives the corrected proofs and index, he will make all the corrections and typeset the index. The Typesetter’s work will be checked, and then he will create final files, and we will proceed with the printing of the book. Usually, you can expect to receive an advance copy of the finished book six to ten weeks after returning corrected page proofs.

Jacket Copy

At roughly the same time as you receive page proofs, your jacket/cover copy will be finalized (the design itself is usually nearly complete) and any endorsements must be in. Your Acquisitions Editor will ask you to review the jacket copy at this time.

16 APPENDIX 1: USING AND DEALING WITH COPYRIGHTED MATERIAL

If your book includes any song lyrics, illustrations, figures, tables, maps, or quotations from any other source, published or unpublished, please read this section carefully. If any questions remain unanswered, please speak with your Acquisitions Editor or your Production Editor. Even with your own work, if a significant portion has appeared previously in print, permission from the original publisher is usually required.

It is your responsibility to obtain all legally required permissions for your book. This appendix is meant to give you general guidance on what we require before we publish your book, but since copyright requirements depend on the circumstances, it cannot serve as legal advice regarding your particular work.

Using 3rd Party Material in Your Publication As a respected academic publisher that depends on the Intellectual Property that we and our authors create, it is important to us that Palgrave Macmillan sets a high standard when using the Intellectual Property of others, and we believe our authors share this value.

If you intend to use copyright content sourced from a 3rd Party in your work, we will always want to discuss inclusion of such content with you at the earliest possible stage. What Is Copyright? While there is no International Law on copyright, most countries are signatories of one or more international treaties on copyright and related rights. These treaties are administered by the World Intellectual Property Organisation (WIPO) which is a specialised agency of the United Nations. Such treaties have given rise to a broad “minimum level” copyright protection around the world. See the WIPO publication “Understanding Copyright and Related Rights” for further information: http://www.wipo.int/freepublications/en/intproperty/909/wipo_pub_909.pdf

Works protected by copyright vary slightly by jurisdiction but generally includes the following: literary works (such as books, pamphlets, newspaper articles, instructions, speeches, etc.), dramatic works, choreographic works, musical compositions (with or without words), cinematographic works, artistic works (drawing, painting, architecture, sculpture, engraving, photography, illustrations, maps, etc.). Translations, adaptations, and collections of works can also be protected. There is a requirement that such works must have sufficient originality in their form of expression to attract copyright protection.

The term of copyright protection varies according to jurisdiction. In many countries, including the United States and those in the European Union, the term of copyright is 70 years from the death of the creator. Do note that there may be variances for unpublished works, and in the United States works published prior to 1978, foreign works, anonymous works, and “works made for hire” may have different terms of protection.

17 Important Things to Be Aware of When Using 3rd Party Material The best advice we can give to you is to try to avoid using 3rd Party in-copyright material in your manuscript. When use of such material is essential, try to restrict use to what will be acceptable under a copyright exception (please see “Copyright Exceptions” section below).

You may only include 3rd Party material in your manuscript with the prior consent of your editor.

It is very likely that you will need to seek permission to reproduce 3rd party material unless you are using items that are:

• not subject to copyright (e.g. where the term of copyright has expired).

• covered by a copyright exception (see the “Copyright Exceptions” section below).

• obtained from places that set out their terms and conditions for re-use without requiring you to apply to them for permission (e.g. a valid creative commons license, the UK’s Government’s “Open Government License,” or website terms and conditions); in each case the terms and conditions outlined must be sufficiently broad to enable us to publish your work in the way suited to our program—see the “Required Rights” section below.

Permissions clearance is notoriously time consuming and can also be expensive (in most cases our authors are responsible for payment of any permissions fees).

Where permission is sought, it can be very hard to negotiate the range of rights that we require (see the “Required Rights” section below) in order to make publication of your work viable (rights holders often place restrictions on print runs or term of publication that simply do not work for modern academic publishing).

Given the above, please do not accept or sign permissions licenses or make payments without first confirming with us that the license sufficiently covers our intended use of the material.

The information provided here is about copyright issues involving 3rd Party material; please note that other legal issues may arise from the way in which you use material in your manuscript. These other issues might include, but are not limited to, libel and privacy.

While we are not able to give you legal advice (you should always seek your own independent legal advice if you require it), we have collected information below to give more guidance around copyright and permissions requirements, and we hope that you find this information helpful. Additional information can be found in the Authors section on our website, palgrave. com. Please note that Palgrave Macmillan does not take any responsibility for the content found on websites which we have provided links to.

18 Seeking and Obtaining Permissions

Before you start Permissions clearance is notoriously time consuming and can also be expensive. In order to give sufficient time for all clearances to be obtained, the permissions application process should be started at least 3 months in advance of the final manuscript delivery date.

First, list all 3rd Party Material included in your manuscript on the Permissions Tracker supplied by your Acquisitions Editor. You will need to attain permission for each of these items, or show that permission is not required (because the material is out of copyright or subject to a Copyright Exception—see below). To avoid delays/queries, and ensure completeness, please include even the latter on your list, along with your reasoning for believing that permission is not required.

Copyright Exceptions (e.g. Fair Use and Fair Dealing) Most copyright laws contain some exceptions that permit certain types of limited re-use of in- copyright material without the need to seek permission of the rights holder.

In the United States the copyright exception is known as the doctrine of “Fair Use” and it is codified in section 107 of the Copyright Law of the United States.

In the UK, copyright exceptions are sometimes referred to as “fair dealing” as some exceptions only apply to the extent that the amount being taken is “fair.” The exception most likely to apply in the context of an academic publication is the copyright exception for the purposes of Criticism and Review (to which fair dealing applies).

Our requirement is that authors of Palgrave Macmillan publications may only include items in their manuscript under a copyright exception (regardless of the place of publication) if all of the following are true:

The item has been previously published

It has been properly acknowledged

It is used within the context of criticism and review (not simply illustrative)

Its use is restricted to the minimum amount necessary to demonstrate the point being made and does not take the “heart of” or “essence” of the original creator’s work.

The author is satisfied that the use is “fair” (see British Academy Guidelines and information from Stanford University site below, fairness should be judged in accordance with UK and US standards)

The use does not infringe the original creator’s moral rights.

Because epigraphs will rarely meet the criteria above and are rarely essential to the manuscript we strongly discourage use of epigraphs in all our publications.

Locating Rights Holders Identifying the rights holder for a piece of work you wish to re-use can be tricky. In general you should start with the original publisher of the piece. Do bear in mind that multiple publishers may

19 need to be approached to put together all the rights you need (for example, one publisher may hold US rights and another British and Commonwealth, etc.).

Please note that if you cannot identify a rights holder for an in-copyright item (even after a “good- faith” search) and the use does not fall within our requirements for use of content under copyright exceptions (see the “Copyright Exceptions” section above) you will not be able to include the piece in your work.

The WATCH file can be a good starting point for identifying rights holders for writers and artists http://norman.hrc.utexas.edu/watch/. Some rights holders are represented by Collecting societies and these can also be useful places to start when seeking permissions clearance, for example

The Copyright Clearance Center www.copyright.com

The Design and Artists Copyright Society http://www.dacs.org.uk

The Artist’s Right’s Society http://www.arsny.com.

Required Rights When applying for permission please use our Global Permissions Request Letter. This letter requests all of the rights that we require in order to include 3rd Party in-copyright content in your book. Please do use our template letter rather than your own alternative to ensure that all of the relevant rights are requested. When you receive permission from the rights holder, ensure that the grantor has actually granted you all of the rights requested: “non-exclusive permission” to use the material for “this and future editions” of your book, “in all media and formats and in all languages for distribution throughout the world, and to include excerpts in advertising, publicity, and promotional materials for the book.” Anything that limits the grant (such as number of editions or size of print run or duration of grant or territories), or negates any of our required rights, will likely not suffice, and you will need to follow up with the grantor. Please see additional advice in the Author’s section on our website, palgrave.com, and/or discuss with your Editorial Assistant.

If you are unable to secure sufficient rights for 3rd Party material, we will be unable to include the content in your work since it will restrict the sales opportunities for the project on which acceptance of your work was based. In such circumstances we will discuss the available options with you.

We ask that you submit all letters of request and letters granting permission, along with a completed Permissions Tracker to your Acquisitions Editor with your manuscript submission.

Acknowledgement Permission grantors usually detail the exact wording to be used (and often its placement as well). You should follow their instructions precisely. If the grantor does not specify a location for the credit, it is best to include the notice in your Acknowledgments section, or on a special permissions page in addition to a full citation in the text or notes. Include this information on your Permissions Tracker and send the completed version to your Acquisitions Editor with your final manuscript. Please note that it is our requirement that items being used under copyright exceptions are accompanied by a full acknowledgement to the original source and are listed on the Permissions Tracker.

20 Fees Rights holders vary in what they charge for use of their material. In general the more rights you require, the higher the fee. You may be able to negotiate the fee downward by explaining the scholarly nature of your publication. Fees may be payable on receipt of the permissions grant, or upon publication. Prior to making any payments, please ensure that the grantor has indeed granted all the required rights and that you have confirmed with your Acquisitions Editor that the items can be included in your book. Sometimes you may be asked for a complimentary copy of the book (as well as, or in lieu of a fee) as a condition of granting permission. Please note that authors are responsible for fulfilling all such contractual obligations.

Your Own Previously Published Work If you wish to reproduce material that you have previously published, unless you have specifically retained the right to do so in any publication agreement that you signed at the time, it is highly likely that you will need to obtain the consent of the work’s original publisher to reproduce their work elsewhere. The terms and conditions that publishers apply to such re-use vary considerably. We are only able to include an author’s previously published work if the terms and conditions of re-use are in line with the required rights outlined above and on our permissions forms. Any limitations or restrictions imposed by an original publisher may affect our ability to sell your work. For this reason we ask that you clarify with any previous publishers under what conditions any previously published material can be used, and that this is discussed with your Acquisitions Editor at the earliest possible stage in the process, and certainly well in advance of manuscript submittal. (If the original publisher is reluctant to grant the necessary rights, options might include substantially re-writing the content or, in the worst case, dropping it altogether.) If you do clear the required rights we will need you to supply a copy of the original publisher’s grant of permission that we can attach to your author contract/contributor agreement. Note that some publishers, particularly of journals, have “retained rights” policies that set out what authors can do with work that they have published with them without a formal permissions request needing to be made. In such cases, again provided that the required rights are granted, you can provide a copy of the relevant retained rights notice (in lieu of a formal permissions grant).

Edited Collections If you are editing a collection of essays, you must ensure that a license agreement has been reached with each contributor. It is usual for the contributor either to assign copyright or license all publishing rights to you or to Palgrave Macmillan to enable the volume to be treated thereafter as a whole. Your Acquisitions Editor will give you the necessary forms for signature. A completed, signed form for each contributor should be delivered with your final manuscript. You should additionally ensure that each contributor is aware of the requirements outlined above regarding use of 3rd Party content, including their own previously published items.

21 Appendix 2: Illustrations

Remember that if you are using a piece of art from another source, in its entirety or any part thereof, you must obtain permission (see Appendix 1).

Please discuss any ideas for illustrations with your Acquisitions Editor at the earliest stage possible. You should not add illustrations/charts/graphs/maps/photos without agreement from your Editor. If any were included in your original proposal, please confirm that your Editor wants them in the book.

Generally all art is produced in black and white. All art falls into one of two categories: line art and halftones.

Line Art is defined as having no gradations of tone or shadings,

may include maps, diagrams, sketches, graphs, or charts,

is drawn with lines, dots, cross-hatching, or solid black shapes.

Halftones are defined as having gradations of tone or shadings,

are photographs and transparencies,

are painted artworks,

are drawings or sketches.

Supplying the Artwork Both line art and halftone images need to be of the highest possible quality (note that xeroxes and web downloads almost never render print-quality artwork). If you have any questions about art, please submit a sample to your Acquisitions Editor to have it cleared with the Production Department. When providing the art, please supply only pieces that have been approved by your Editor and that are intended for use in the book—please do not send “alternates.”

For halftones, please supply a glossy print, .tiff, or .jpg image at the final desired printed size or larger and at 300 dpi or above (roughly 900 x 1500 pixels). Note that, for example, submitting an image that is 300 dpi at 2” x 3” is insufficient if you want the image to be printed in the book as 5” x 7.” Jpg files are sometimes acceptable, but rarely as good. Please do not convert color halftones to black-and-white; this will be done by the Compositor.

22 For line art, please supply a high-quality laser printout, an .eps file, .tiff, .jpg, or a .pdf file with fonts embedded. Please also supply the native file for the program in which the line art was created. If you have to scan original line art, please scan at the final printed size or larger and at 1200 dpi or above. Shading should not exceed 80 lpi (if you send an .eps or .pdf file, the Compositor can adjust the screen).

Please be wary of color originals as, in conversion to black and white, much of the artwork’s original richness may be lost. Similarly, art “dropped” into a Word file often suffers degradation—each piece of art must be submitted as a separate file in its original format (including charts and graphs created in Excel or similar programs). Please do not scan halftone art from a book—even if you have permission from the publisher to reproduce the image. There are dots in printed halftones and the scanner will capture them and enlarge them, creating what is known as a moiré pattern. If you cannot obtain a glossy print and have no other means of getting the image, please discuss options for reproducing the image with your Editor.

To facilitate design, please do not refer to the art in the text by location (“This figure can be seen below”), but rather by title (“see Figure 6.1”). You should designate in the text in brackets the approximate placement of the artwork for our designers (“[Figure 6.1 inserted about here]”). You must provide approximate placement and captions for every figure to be included in the book. This information is due with the final manuscript.

23 Appendix 3: Preliminary Pages

When printed, preliminary pages, or “prelims,” are numbered in roman numerals. Numbering in this way allows last-minute changes (or changes for future editions) without disturbing the pagination of the main text.

Not every book contains all the items below, and not every book will contain items in this order. However, your book may include:

Half-title (p. i). Omits subtitle and author name.

Blank, frontispiece, or ad page (list of your previously published books). If you would like an ad page, include it with your final manuscript.

Title page (p. iii). Includes the full title, subtitle, your name, and our logo. Affiliations are not included on title pages.

Permissions page (if needed). Includes all citations as specified by permission grantors.

Dedication or epigraph. Page v may be used for a dedication or epigraph. Occasionally a dedication or epigraph may be moved to the top of page iv if we are short of space.

Contents page(s). Please ensure that the chapter titles in the contents match those in the text. We do not include heads and subheads in the table of contents (only chapter titles), unless the book is intended to be used as a textbook.

Prelims may also include lists of maps, tables, figures; foreword (which can be contributed by an outside authority, author, or series editor); preface; acknowledgments; list of abbreviations or acronyms; introduction (this may form part of the prelims or may be included in the text—please let us know which you prefer).

24 Appendix 4: Special Characters

If you wish to use non–Romance language special characters in your book, consult with your Editor: the inclusion of special characters (even if you follow the directions below) adds cost to the book and may increase the work’s list price.

Even if your Editor agrees that the use of the special characters is essential to the work, note that we will be asking you to add them to your manuscript.

First, contact your Editor, and ask them to confer with the Production Department about the font family most likely to be used for your book. It is likely best if you use Times New Roman, Palatino, or Arial Unicode MS.

Second, use one of those fonts in your manuscript for your special characters.

Third, create a high-resolution PDF (Adobe Acrobat Distiller is the most common program) sample of the text that shows the special characters and send it to your Editor (to be forwarded to the Production Department). If the Production Department confirms that the sample is working, then—

Fourth, use the font and special characters throughout the manuscript. When you send in the final manuscript, include both a regular word processing file and a high-resolution PDF of the pages where special characters occur with the special characters displayed correctly, (if the characters must sometimes appear in italics, be sure to include italic versions of font sets).

The table below lists those special alphabetic characters available in standard fonts.

Š Œ Ž š œ ž Ÿ À Á Â Ã Ä Å Æ Ç È É Ê Ë Ì Í Î Ï Ð Ñ Ò Ó Ô Õ Ö Ø Ù Ú Û Ü Ý Þ ß à á â ã ä å æ ç è é ê ë ì í î ï ð ñ ò ó ô õ ö ø ù ú û ü ý þ ÿ

25 Appendix 5: Poetry

There are many different ways of handling poetry citations. What is outlined below is our house style. However, if you wish to handle the quotation of poetry differently, that is fine with us so long as you employ your own style consistently. The style you choose should have an internal logic. Whichever style you use, please enclose a note describing the method you have implemented so that the Copyeditor can edit within your own style, rather than impose another. Also, remember that almost all poetry requires permission, and we require nonexclusive world rights in all languages for all editions of the book.

Our Preferred House Style for Poetry:

Set-off from text (an extract): the method employed to quote more than two lines of poetry. Spacing should match that of the original. If a line is deleted, standard practice is to insert a line of spaced periods approximately the length of the deleted line. Or, if it is difficult to gauge the lengths of lines of different fonts, insert five spaced periods for a deleted line (or lines). For example: The houses are haunted By white night-gowns......

People are not going To dream of baboons and periwinkles......

If you wanted to delete only partial lines: The houses are haunted By white night-gowns......

People ...... dream of baboons and periwinkles...... The three-dot ellipses can be put in brackets to indicate without a doubt that they are your ellipses and not the poet’s (although most readers will not mistake them).

For poetry run into text: In this case, if you omit one or more lines, use ellipses, but also put solidi around the ellipses. And, if you omit only part of a line, use ellipses only, without solidi: Wallace writes of “. . . white night-gowns. / . . . / . . . baboons and periwinkles.”